Sculptured Crosses Of Ancient Ireland

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(|his book is one o| the volumes
jrom the library oj the kte

the

of Virginia^ alumnus o
University of Virginia,
presented to the University

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1

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Sculptured Crosses

of

Ancient Ireland

A. M. HUNT COMPANY
Boston, Mass.

Publisher*

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cc

319994

• • * • • • •

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Copyright IQ/6, By
A. M. Hunt Company

The Granite Marble & Bronze Press, Boston, U. S. A.

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Contents

Page

CHAPTER I— INTRODUCTION 8

II— MONASTERBOICE CROSSES ... 19

III— KILLAMERY AND DUNNAMAGGAN

CROSSES 84

IV— KILKLISPEEN CROSS .... 42
V— TUAM CROSS 53

VI — MOONE ABBEY CROSS .... 85

VII— CLONMACNOISE CROSS .... 71

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List of Illustrations

Page

HARRY LEWIS RAUL 1

MODERN ADAPTATION OF THE CELTIC CROSS . 3
EAST SIDE OF SOUTHEAST CROSS, MONASTERBOICE,

COUNTY LOUTH 21

EAST SIDE OF WEST CROSS, MONASTERBOICE,

COUNTY LOUTH 23

WEST SIDE OF SOUTHEAST CROSS, MONASTERBOICE,

COUNTY LOUTH 26

WEST SIDE OF WEST CROSS, MONASTERBOICE,

COUNTY LOUTH 27

DETAILS OF CROSSES 30

ILLUSTRATION O* ORNAMENTS ON CROSSES . . 31
DETAILS OF SOUTHEAST CROSS, MONASTERBOICE,

COUNTY LOUTH 32

WEST SIDE OF K1LLAMERY CROSS .... 36

EAST SIDE OF K1LLAMERY CROSS . . . 37

WEST SIDE OF D U N NAM AGO AN CROSS ... 38

EAST SIDE OF DUNNAMAGGAN CROSS .... 39

WEST SIDE OF SOUTH CROSS, KILKLISPEEN . . 44

EAST SIDE OF SOUTH CROSS, KILKLISPEEN . . 45

WEST SIDE OF NORTH CROSS, KILKLISPEEN . . 48

EAST SIDE OF NORTH CROSS, KILKLISPEEN . . 49

DETAILS OF KILKLISPEEN CROSS .... 51

TUAM CROSS (A) 54

TUAM CROSS (B) 55

TUAM CROSS (C) 59

TUAM CROSS DETAILS 62

TUAM CROSS DETAILS 63

MOONE ABBEY CROSS (A) 66

MOONE ABBEY CROSS (B) 67

EAST SIDE OF NORTHEAST CROSS, CLONMACNOISE,

KING'S COUNTY 72

WEST SIDE OF NORTH CROSS, CLONMACNOISE,

KING'S COUNTY 7'i

DETAILS OF CROSSES 76

DETAILS OF SOUTH CROSS, CLONMACNOISE, KING'S

COUNTY U

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PREFACE

THE material for this little book on Sculptured
Crosses was taken from the text and illustra-
tions given in O'Neill's celebrated book on "Sculp-
tured Crosses of Ancient Ireland. ,, This book of
O'NeiU's was published in 1857 and is now out of
print, with only two or three known copies in ex-
istence.

The present volume has been carefully gotten to-
gether and published to save to the monument
trade the valuable information about these old
crosses of Ireland as well as to preserve to the
trade the wonderful illustrations that are shown in
this book.

Celtic Crosses in their more modern and modified
form are more in favor than ever before and it is
hoped that this little book will prove of great value
to the monument trade.

Geo. R. Ford

Editor.

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PREFACE

By HARRY LEWIS RAUL

OF the ancient race inhabiting Ireland and referred
to in history as Celts or Kelts, little is accurately
known. However, there have been found numerous
relics in the forms of metal, stone work and manu-
scripts of wonderfully intricate and exquisite design,
from a careful study of which much may be learned
about the character of the civilization of the period at
which they were produced and much in regard to the
art of the early craftsman. Art has always been a true
index and record of not only the deeds but the inspi-
rations and aspirations of humanity. No artist can
paint or carve without indelibly placing, whether con-
sciously or unconsciously, upon his work the seal and
character of his time and thus these ancient relics of
Celtic art tell us of the high order of civilization at-
tained by the Celtic race centuries ago. Much has
been written of the exquisite metal work and marvel-
ously beautiful illuminated manuscripts and pottery
of ancient Ireland, but until Henry O'Neill brought
to the study of the ancient Celtic crosses his enthu-
siasm and careful scholarship, little has been done to
place this subject adequately before the public.

This book, under the title of "The Most Interesting
of the Sculptured Crosses of Ancient Ireland," drawn
to scale and lithographed by Henry O'Neill, was first
published by him in London in 1857^ The original

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SCULPTURED C BOSSES

book has long been out of print, and the copu
in existence are very rare. O'Neill brought
work the care and precision of a trained antij
as well as a native love and enthusiasm for all
Irish. His deductions in regard to a prehistoric i
ization in Ireland are extremely interesting, tr \
some of his views have not borne the test of cri\ A
with complete success.

O'Neill's book comprises probably the most mi
plete and authoritative treatise on the Celtic c >si
now available, and may be regarded as of esp* :ia\
importance at this time, for the Celtic cross is inci ias^
ing in popularity as any visit to one of our moc erri
cemeteries will demonstrate. The tendency towards a
revival of the Celtic memorial is very apparent. The
beauty and ecclesiastic spirit of this form of memo-
rial is being more and more appreciated by the gen-
eral public. The beautiful Celtic cross satisfies a
modern desire for ornament and intricity of design
and at the same time possesses a dignity which was
lacking in many of the older types of elaborated
carved memorials. At a recent exhibition of womei
sculpture's in New York City a model of a Celtic cros
was considered to be among the most notable of a
the exhibits. The fact that the cross is being recog
nized in the best art circles cannot but have an effec
upon the popular demand. The Celtic cross occupy
a more prominent place in monument designing tha
ever before, and it lends itself to an endless variet
of modifications suitable for modern adaptation.

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HARRY LEWIS RAUL, EASTON, PA.

A noted young sculptor who declares that much of our
modern work is mechanically perfect but lacks artistic
spirit.

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4

SCULPTURED CROSSES

Architecturally, the Celtic crosses are beautiful in
design and proportion, and they easily take a high
place among the most dignified of ancient memorials.

Sculpturally, these crosses have their chief value as
examples of ornamental and decorative carving.
While the treatment of the human and the animal
figures was immature and grotesque, and without a
true sense of grace and proportion, when the ancient
carvers of the Celtic crosses have applied them in an
ornamental way — which was their chief use of these
motifs— they have made unique and admirable use ot
them from a decorative point of view.

The Celtic cross and its modifications present a
rich field for modern adaptation and offer opportuni-
ties for exquisite modelling and carving, with less
primitive treatment of the human figure, as has been
clearly manifested in some recent modern uses of this
old convention, notably the John Ruskin cross, which
portrays in a series of panels of beautiful bas-reliefs
the main incidents and achievements of the great Eng-
lish author's life.

In many of the modern copies of the Celtic cross,
as they appear in our cemeteries, the chief fault lies
in the altogether too much stress that is placed upon
purely mechanical perfection which has resulted in a
considerable loss of the spirit of the original fine old
carvings. Too close adherence to the use of the scale-
rule and calipers in this kind of work renders the re-
sult mechanically perfect, but, on the other hand, the
effect is cold and meaningless in the feeling produced ;
whereas, when the circles and lines are drawn and
carved freely, of course with a just regard to proper
proportion, the result embodies a certain richness of

PREFACE

5

design and a seeming movement of light and shade, a
plasticity and rhythm, which is infinitely more pleas-
ing in effect, as is clearly evident in the original an-
cient Celtic crosses.

The variety of the designs of the crosses, as well as
the endless diversity of the decorative patterns and
ornamentation applied to the original Celtic crosses,
bear eloquent witness to the inventive genius of these
patient and devoted artists and stone carvers of long
ago. They evidently did not feel bound to servilely
follow the conventional, but on the contrary they
seemed to set their fancies free, their understanding
of the true principles of decorative ornament and de-
signing, never, however, permitting them to trans-
gress the natural bounds of good taste. This freedom
of execution is more evident in their stone and metal
work than in the mechanically more accurate manu-
scripts, where, however, the beautifully blended color-
ing produces a most charming effect.

The chief peculiarities of Celtic ornamentation con-
sist of the complete absence of foliage in their designs,
the lavish intricacies and minuteness of the patterns,
which are mainly geometrical and are made up mostly
of intertwined ribbon work and spiral lines, and also
in the use of strange and fanciful animals, birds and
snakes, with extremities winding away into long
curves and intricate ingenious knots. Human figures
are frequently intertwined in this manner in the man-
uscripts and, as will be noted, in one of the patterns of
the Monasterboice Southeast cross.

The most general and most elaborate ornaments
used by all workers in stone, metal and manuscripts

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SCULPTURED CROSSES

are composed of one or more long strands of ribbon
or rope intertwined and linked continually in their
courses by a series of loosely tied and extremely com-
plicated knots, the whole forming beautiful, harmon-
ious, geometrical patterns.

A very characteristic Celtic pattern is that made by
several spiral lines beginning at a fixed point and run-
ning off into diverging spirals to meet and merge into
other similar spiral lines.

Another characteristic series of patterns with an
endless number of modifications is caused by the use
of diagonal straight lines formed into a Z pattern end-
lessly repeated in various relations with each other.

The perfection of workmanship of the ancient
Celtic craftsmen and the maturity of the designs
which have come down to us through the centuries
mutely speak of a long, consistent and progressive
development, and they bring before the imagination
suggestions of the ancient people who contrived and
perfected them. We think of the great assemblies of
the chieftains of the Celtic tribes held triennially at
Tara, the ancient capital, upon the site of which only
a solitary stone remains to mark the place of the an-
cient scenes of splendor. We read of Tara's banquet
hall, 700 feet in length, with long rows of benches,
lighted by a hundred altars and council fires, wherein
the great chiefs, arrayed in gorgeous robes and mar-
Yelously wrought ornaments met in conclave.

We picture the scenes of hard-fought battles of con-
quest against the Danes, with weapons highly wrought
with consummate skill, of surging combats around the
massive stone forts that still remain, though some of

PREFACE

7

them are now in ruins. We seek to fathom the mys-
tery of the meaning of the ancient round stone towers,
whose firm masonry still remains intact beside the later
Christian chapels and the beantiful crosses ; and, as one
ponders over the ancient Celtic race in Ireland, and, in
fancy, repeoples the now barron hill of Tara, and seeks
to reconstruct the splendor of this ancient people, the
beautiful living lines of Tom Moore speak:

The harp that once through Tara's halls

The soul of music shed,
Now hangs as mute on Tara's walls

As if that soul were fled.
So sleeps the pride of former days,

So glory's thrill is o'er,
And hearts that once beat high for praise,

Now feel the pulse no more.

No more to chiefs and ladies bright

The harp of Tara swells:
The chord alone, that breaks at night,

Its tale of ruin tells.
Thus Freedom now so seldom wakes,

The only throb she gives
Ts when some heart indignant breaks,

To show that still she lives.

CHAPTER I

Introduction

OREL AND contains a great many stone crosses,
many of them are beautifully carved. Every
illustration that will be used in succeeding in-
stalments of this article has been studied from
the original and lithographed by myself. All the sub-
jects are drawn to scale, and there are about forty
indent Irish inscriptions, of which fac-similes will be
given. There are thirty-six prints.

" The carvings on the sculptured crosses are often
much injured. With respect to the figure subjects,
not a line which is not in the originals is repre-
sented. A thorough acquaintance with ancient Irish
ornament, as it exists in stone, metal and manu-
script, has enabled me to unravel a complex design,
which, from being injured, would, to a tyro, be in-
extricable confusion. The principle on which almost
all ornament is founded, that of regular recurrence,
aided me. I have added, in a few instances, parts
which are gone in the originals ; this has been done
only when the additions were necessary, and I was
fully confident of being right.

The little that has been done by Irish writers
about these crosses were better undone. Ledwich
published two views of two crosses at Clonmacnoise.
They are erroneous, are stated to be of one cross,
and the text is as absurd as the delineations. Dr.

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INTRODUCTION

9

Petrie has represented part of the base of the Tuam
Cross. He describes the base as being double its
actual height ; he erroneously asserts that there were
crutches or props under the arms of the cross, and
that its entire height — error of the base's height in-
cluded — was only thirteen feet eight inches, it hav-
ing been above thirty feet high. Archdall, in his
Monasticon Hifternicon, says of the North Cross,
Clonmacnoise, that on it "are some rude carvings
and an inscription in an antique and unknown char-
acter," and that the carvings on the noble cross in
the southeast angle of the churchyard at Monaster-
boice "show the uncivilized age in which they were
executed/' the letters being very plain and the
crosses the finest monuments in Europe of the early
Christian ages. Such are some of the errors. I do
not know that one who has preceded me notices the
great artistic merits of these noble works.

In all the remains of ancient Irish art there is a
peculiar style, as truly national as that of Greece, of
Assyria, or Egypt, or any other country that has
been distinguished in art. The characteristic of this
Irish style is interlaced ornaments; bands, cords,
serpents, dogs, birds, even human beings, are inter-
laced. There are also other modes; spirals, waves,
zigzags, frets, etc. Vegetable forms are very rare.
These ornaments display wonderful powers of in-
vention and execution, and entitle the ancient Irish
to rank as the greatest masters of ornamental art
that ever existed. In this opinion I possibly stand

Characteristic of Irish Style.

10

SCULPTURED CROSSES

alone, but an attentive study of the ornaments of
every age and country has led me to this conclusion.

Art flourished in Ireland apparently from a long
time before the Christian era, and did not cease till
about A. D. 1460. The Irish annals show that the
precious metals were worked with skill in Ireland
nearly four thousand years ago, and thence we get
occasional notices of Irish art, literature and civil-
ization, till the Anglo-Norman invasion, A. D. 1172.
Most of these notices are to be found in the four
masters, and are briefly as follows: — B. C. 1897,
King Nuadhat lost his hand in battle at Ballysadare,
County Sligo, and a silver hand was made for him.

B. C. 1620, Irish gold and silver were wrought into
goblets, brooches, etc., and a sumptuary, or class-
law, was passed respecting the number of colors to
be worn by various classes. B. C. 1389, silver shields
were manufactured in the County Kilkenny. B. C.
1328, chains and rings of gold and silver worn. B.

C. 1278, a triennial parliament established at Tara,
County Meath. A. D. 266, King Cormac is men-
tioned as being a very literary character. The next
notice that I shall refer to is the arrival of St. Pat-
rick in Ireland, A. D. 435. Some think that then the
arts, literature, Christianity and civilization were
introduced, an opinion that seems to be erron-
eous. Toland says that St. Patrick burnt some
hundreds of Irish books, and Jocelyn that he over-
turned some dozens of gold and silver idols. To-
land may be right, but the Monk of Furness has
written the Irish apostle's life with so little regard
for truth that I must suspect any statement made

INTRODUCTION

11

by him. The secretary and chaplain of Henry II,
Giraldus Cambrensis, has, in his topography of Ire-
land, described an Irish manuscript which he saw
at Kildare, and was assigned to St. Patrick's time.
The Welchman's description of the illuminations
are clear, characteristic, and enthusiastically eulo-
gistic. Many Englishmen, in our own days, have
been nearly as warm as G. Cambrensis in their
praises of ancient Irish art. But a better proof of
the excellence of ancient Irish art exists in the
many works which yet remain. In manuscripts
we have the Book of Kells, assigned to the sixth
century, and the Book of Durrow, of the same pe-
riod; both are in Trinity College, Dublin. The
Book of Dimma and Gospels of St. Chad, seventh
century. Book of Durham, to beginning of eighth
century. Psalter of St. John's College, Cambridge,
the ninth century. The Books of Armagh and of
McRegal to the early part of the ninth century;
the Gospels of McDurnan to the tenth century, and
so on to the Book of Ballymote and other illumi-
nated manuscripts in the Royal Irish Academy,
Dublin, and which bring us to A. D. 1460. The
dates are given on the best authorities I could get;
several are from the Palaeographia Sacra Pictoria
of J. O. Westwood, Esq.

The dates of only two of the sculptured crosses
appear to be determined with anything like cer-
tainty. Dr. Petrie assigns the Tuam Cross to about
1 125, and the North Cross, at Clonmacnoise, to
some two centuries earlier. The learned doctor
concludes that the two noble Crosses at Monaster-

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SCULPTURED CROSSES

boice belong to the tenth century; his reasons are
too feeble to satisfy anyone.

The remains of metal work are numerous and
superlatively excellent, but only a few dates have
been determined. The Shrine of St. Patrick's bell
belongs probably to the end of the eleventh cen-
tury, and the Cross of Cong to the earlier part of
the twelfth century.

Availing ourselves of the few dates here given,
and carefully examining the relative merits of the
various remains, we find that in proportion as the
work is ancient, so it is also excellent. Judging
by G. Cambrensis' clear description, the Book of
Kildare excelled the Book of Kells, and J. O. West-
wood declares the Book of Kells to be "the most
elaborately executed monument of early Christian
Art in existence. ,, It is certainly a matchless work.

Irish Art Reflects Ancient Glory.

Irish art continued good up to the twelfth cen-
tury, thence it rapidly deteriorated, and became ex-
tinct about the fifteenth century. But who can
think that a nation that worked in silver four thou-
sand years ago ; that had a parliament five centuries
before the foundation of Rome, or the institution,
by Lycurgus, of the Spartan commonwealth; that
was never invaded by Rome; that conquered the
Danes at the very time that Canute the Dane as-
cended the English throne ; and a section of which
maintained successfully, for many years, a war
against all the power of Queen Elizabeth ; who that
knows what Ireland was formerly but must see

INTRODUCTION

13

how probable it is that ancient Ireland excelled in
art? I see no reason for supposing that the Irish
Apostle did anything to civilize Ireland. The
style of Irish art shows that it did not come from
Rome. The excellence assigned to the Book of
Kildare, and displayed in the Book of Kells and
other Irish art works, shows that the style must
have been cultivated for ages before it could have
been brought to such perfection. To judge this
matter rightly we must examine the colors and the
vellum of manuscripts; we must consider how ex-
cellent must have been the knives, the pens, the
brushes, and the compasses which were used in
making the illuminations; how complete were the
arrangements for producing such amazingly labo-
rious works. Above all, what a length of time
would be required in order to systematize the style,
and complete the arrangements necessary for giv-
ing it a thorough realization. Remembering all
these, and also bearing in mind how numerous are
the remains; that they are found in Continental
libraries, as well as in those of the British Islands,
in great numbers; that they are incomparably the
most exquisite specimens of ancient illumination
in the Royal Library at Paris, in the British Mu-
seum, in Trinity College, and other great collec-
tions; that, in fact, they are unapproachable, and
probably were never approached as a thorough
development of sound ornamental art, as a display
of harmony and beauty in composition and color-
ing, combined with an almost superhuman delicacy
and completeness in execution — remembering these

14

SCULPTURED CROSSES

facts, I cannot think that the art began in the fifth
century and attained perfection at its birth.

What I have said respecting the ancient Irish
manuscript illuminations I would extend to the
works in stone and metal. The excellence, the
amazing laboriousness and perfection of these
works of art, indicate a very long and a very pa-
tient cultivation. The style of all is the same —
unmistakably Irish. It could not have come from
Rome, as Rome never had it. It originated in Ire-
land, and extended thence to Great Britain and the
Continent of Europe.

The idea that the Irish style originated in heathen
times serves to explain the frequent occurrence of
the serpent representations. No worship was more
general than that of the serpent; we find it con-
stantly represented in Egyptian, Grecian and
Hindoo art, as a religious symbol. It has even been
placed among the stars, and the serpent and the
serpent-bearer, as Draco, Hydra and Ophiuchus,
are probably but religious symbols, applied to as-
tronomical uses. The conquest which the Irish
apostle of Christianity is said to have gained over
the serpents of Ireland has been doubted, but if it
was meant that he gained a victory over the ser-
pent worship, the story seems entitled to credit.
Then it may be asked, Why was the serpent repre-
sentation continued in Christian works? I answer,
look to early Christian art in Italy. Notwithstand-
ing the general opposition of the early Christians

The Irish Stone Workers.

INTRODUCTION

15

to any use of art, an opposition so determined that
artists were obliged to relinquish their abhorred
craft before they would be admitted into the Chris-
tian community, yet we find that the strong habit
of art not only survived this opposition, but that
Apolloes, Orpheuses and other heathen themes
were used to express ideas connected with the new
faith; and not only has the heathen style of art
survived to our own days, but a large amount of
its ideas are being reproduced among us for our
Christian use. And the more we become acquainted
with heathen ideas, the more we find our art, our
literature, nay, even our religion, affected by its
influence. I think that ancient Irish art was pagan,
and was continued during the Christian period, just
as the peculiar form of the Irish cross is pagan, or
as the names of the months, or of the days of the
week, are pagan; these, and a great deal more of
paganism, having continued, owing to the tenacity
with which a people retain their general habits
and ideas.

Serious attempts have been made to show that
the Irish crosses were not executed by Irish artists.

J. D. Chambers, Esq., M. A., treasurer to the Ec-
clesiological Society, read a paper before that so-
ciety on the 7th June, 1848, in which he maintains
that either the best of the Irish crosses were im-
ported from the south of Europe (Italy?), or that
Italian artists were sent over to Ireland. This opin-
ion of the learned treasurer might be thought by
some to be a compliment to Ireland, which it is not,
as the ancient Irish artists excelled those of Italy of

16

SCULPTURED CKOSSES

the early Christian ages. It is very weakly advo-
cated, and opposed to fact; for

The Materials of the Crosses are . . Irish

The style of the carvings is . . . Irish

The inscriptions on them are . . . Irish
They are of the same style as the ancient

grave-stones, which are . . . Irish
As the matchless Works in metal, which

are Irish

As the Illuminated manuscripts, which

are . . . . . . Irish

The style is quite different from any known Italian
style, and ancient Ireland did not want to import
crosses or carvers from Italy, as she had better ar-
tists at home.

I think the crosses were intended to be colored,
but no color has been discovered on them. A moist
climate, favorable to the growth of moss and lich-
ens, and centuries of exposure and neglect, would
be sufficient to destroy color if it were ever on them.
But the use of color on sculpture appears to have
been universal previous to the agitated period of
the sixteenth century, when all Europe lost sight
of much that was elegant in art; one can hardly
suppose that the ancient Irish were an exception to
every other people; but even granting that other
nations did not color their sculptures, the Irish
may have done so; none have shown a more deli-
cate and profound knowledge of color than they;
their Book of Kells is matchless in that respect,
and their metal works display the love of color in-

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INTRODUCTION

17

dulged in a most masterly way ; but sculptured
works, particularly the Irish crosses, are much bet-
ter calculated for a display of color than either
metal or manuscript, and I can hardly suppose that
they who showed so keen a sense of the charms of
color in these two modes, would have neglected
the better opportunity for its indulgence which is
afforded by sculpture, and especially the kind of
sculpture they produced — so full of ornament —
which is all but senseless without the life which
color imparts. Besides, the carvings are in some
instances in very low relief — this is particularly the
case with the Cross of Tuam — and the ornaments
are very intricate, and sometimes very high up;
other carvings are so placed that very little light
can get to them, as under the cross-arms and on the
lower rims of the curves. In these places colors
would be required to render the patterns visible.

These considerations are, I think, of weight, but
a more direct proof is that so many of the inter-
laced ornaments are composed of more than one
band, and the bands are arranged symmetrically;
but this symmetry of composition cannot be seen
without the aid of color. I cannot think that the
artists made such designs without intending them
to be elucidated by color.

In making every study with the utmost care from
the originals, drawing every subject to scale, and
executing the lithographs myself, I have done my
best to insure accuracy. The subject of the Irish
crosses and of ancient Irish art are new, and I have
had the aid from others. Hence, not only the rep-

18

SCULPT UBED CROSSES

resentations which I give, but the opinions I main-
tain, are original. These opinions are, that ancient
Irish art originated in heathen times; that it was
the most masterly development of ornamental art
the world has ever seen ; and that in applying the
style to sculpture the Irish artists made color an
essential portion of their designs. These opinions
will be taken for whatever they are found to be
worth ; my hope is that in my endeavor to make
known the excellency of ancient Irish art, and the
noble sculptured crosses of Ireland, I may be the
means of adding to the store of human knowledge,
and enlarging the circle of refined enjoyment; and
especially, by giving proofs that my native land
w r as anciently the most civilized in Europe, create
an interest in a fine country and a gifted people,
who still retain evidence that they were once

"Great, glorious, and free";
that Ireland was "the emerald gem of the western
world," not alone because of her verdant soil, but
because she had an advanced civilization when the
rest of Europe was sunk in barbarism. In the
scientific, literary, and artistic excellence of her
sons Ireland finds a proud and worthy delight, and
in her art works of by-gone times she possesses
unquestionable proofs of the unrivalled skill of her
ancient artists. Of these proofs her sculptured
crosses form an important part; the illustrations
given of these beautiful monuments, will, I trust,
be satisfactory evidence that the high rank I claim
for the ancient Irish artists is their undoubted
right.

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CHAPTER II

MONASTERBOICE CROSSES

AT about thirty-four miles from Dublin, in the
County Louth, and some four miles from
Drogheda, in a district of low hills, are situated the
ruins of two ancient churches, a pillar tower, and
three very large crosses, two of which are in good
preservation. One is twenty, the other twenty-
three feet high; and both are covered to profusion
with elaborate carvings, one of them having also
an inscription. The third is broken, and almost de-
void of ornament. As these three crosses are situ-
ated west, southeast and northeast to each other,
they will be distinguished by their position in these
respects. The material is a white silicious stone,
close-grained, not unlike statuary marble, the quan-
tity of quartz giving it a crystalline appearance.

East Side of the S. E. Cross Monasterboice.

On the east side of the base there are two cavaliers,
and some large animal, possibly a lion, with a poetic
length of tail ; beneath are two panels of interlaced
tracery ; one can still be made out, the other not. The
first panel on the shaft contains the Fall, and Cain
and Abel. The subjects of the second and third
panels are not yet solved. The fourth one is most
probably the visit of the three Magii ; Joseph appears
about to receive the Divine Infant, for the purpose of

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20

SCULPTURED CROSSES

showing him to the Wise Men ; above the child's head
is the star. Next over that panel is St. Michael, "the
Lord of Souls," weighing a human spirit, while the
Evil One, though prostrated by his great conquerer,
endeavors to reverse the favorable result by fraudu-
lently pulling down the opposite scale.

In the centre of the cross is the Last Judgment;
Christ appears with his proper attributes, the cross
and the sceptre; the Holy Spirit is seen above His
head, under the emblem of a dove; angels harp and
play other musical instruments around him; to His
right hand are the blessed spirits, on the other we see
the Prince of Darkness, armed with a trident, and
aided by his ministers, urging away the condemned.
One of his angels, who is seen kicking the sinners be-
fore him, carries 'what appears to be a book. Is it
a list of the sins of those wretches kept by this clerk
of the lower regions to be produced against them on
that occasion? A very small figure will be observed
kneeling at the left side and close to Christ, and over
that figure a book open. Is that a soul undergoing the
final sentence, and is the book a record of his good
deeds? Or is it the patron or person at whose cost the
cross was executed? To introduce the patron of such
a work in this way was sometimes done in early art.
Above the dove appear to be two angels guarding a
child, and at the top are two larger-sized figures; one
carries a pastoral staff, the other has also a staff or
sword. Between the heads of these figures is a . cross
in a circle. The ring is ornamented with spirals and
serpents — an ornament very usual on Irish crosses;
the spirals are on hemispherical bosses.

MONASTERBOICE CROSSES

21

EAST SIDE OF THE SOUTHEAST CROSS, MONASTERBOICE,
COUNTY LOUTH.

Digitized by

22

SCULPTURED CROSSES

This cross is altogether seventeen feet high. The
cross arms are seven feet wide, and the shaft is two
feet three inches wide at the base. This cross is com-
posed of three stones; first, the base; the second
reaches from thence to the top of the circle; and the
third one completes the monument.

Between Satan and his head clerk there is a curious
figure, naked, kneeling, and with its face apparently
towards you. What can it be? Not a condemned
soul surely; the imp of evil who holds the book would
hardly be so negligent as to leave one behind him.
It has been suggested that this may be a "Shelah-na-
gig," a class of female carved human figures pretty
general in Ireland, found about old churches and
castles, and which are so indelicate that no descrip-
tion of them can be given.

The Southeast Cross, Monasterboice (West Side.)

The inscription is "Or do Muiredach las in dernad
in Chrossa." "A prayer for Murdoch, by whom was
made this cross. ,,

Dr. Petrie, in his work on the Ecclesiastical Archi-
tecture of Ireland, expresses an opinion that " Muire-
dach, son of Domhall, tanist, Abbot of Armagh, and
chief steward of the southern O'Neill, and successor
of Buite, the son of Bronach head council of all the
men of Bregia," was "likely to have been the erector
of the crosses at Monasterboice and their contempor-
aneous Round Tower/' This opinion is founded on
the circumstance of two Murdochs being mentioned
in the Annals of Ulster as having been Abbots of Mon-
asterboice, one of whom died A. D. 844, the other A.

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MONASTERBOICE CROSSES

23

BAST SIDE OF THE WEST CROSS, MONASTERBOICE,
COUNTY LOUTH,

Digitized by

24

SCULPTURED CROSSES

D. 923 or 24. To this second one the doctor ascribes
the erection of the crosses and tower, "because he was
a man of much greater distinction, and probably
wealth/' than the other Abbot. As Murdoch is not
an unusual name in the Green Island, there seems no
reason for assuming that the crosses must have been
erected by Abbots of Monasterboice, and that the same
person must have erected all the crosses there and the
pillar tower also; neither is any reason assigned for
the assertion that the tower is contemporaneous with
the three crosses. The other erections have no in-
scriptions.

The Crucifixion has the usual accessories of the
sponge and spear-bearers; there are also supporting
angels at the head of Christ. Above and below Christ
are serpents, whirling from ornamental bosses, and to
the right and left are bosses with serpents indicated
conventionally. The three groups on the shaft of the
cross, and the fourth one over the Crucifixion, seem
to refer to one story ; in the lowest group an ecclesias-
tic is attacked by two armed men; in the next, these
men have become students or eccleciastics ; in the third,
the ecclesiastic resigns his staff to one and his book
to the other — the Spirit of God is seen descending on
this latter ; and in the upper group the two men have
become ecclesiastics, and are aiding in raising the cen-
tre figure to Heaven. I do not know what to make
of the groups at each side of the Crucifixion. The
patterns on the ring are serpents, with one limb from
each animal thrown out for the purpose of making a
plat-work pattern, The scale is one-twelfth.

MONASTERBOICE CROSSES

25

Details of the Southeast Cross, Monasterboice.

In the central row we have, below, the carvings of
the bottom of the shaft, on the south and north sides ;
next are the rims of the ring; and at the top is the
carving under the northern cross-arm. The corres-
ponding carving on the south is two dogs laid head
and tail.

The left-hand row represents, first, the south side
of the shaft; this is divided into three panels; the
lowest panel consists of eight human figures platted
together ; the next panel is serpents grouped in whirls,
the whirls being on raised bosses ; and the upper panel
has a tree in bowers, with animals.

The next subject is the end of the southern cross-
arm; it represents Pilate washing his hands, a servant
pours water from a vessel shaped like a horn ; similar
shaped vessels are represented on the walls of
Pompeii — guards, armed with swords and shields, are
in the rear. The top subject is supposed to be Chrises
entry into Jerusalem; angels attend; over all is an
ornament of serpents and bosses.

On the right side of the print below is represented
the north side of the shaft, which is ornamented with
three panels of interlacing, of beautiful design ; in the
middle is the end of the north cross-arm, containing
the mocking of Christ, with angels attending. The top
subject is two. figures with pastoral staves, and a dove
between them — a subject of frequent occurrence on
Irish crosses; over these figures is an ornament of
serpents and bosses. The scale is one-eighth.

East Side of the West Cross, Monasterboice.

This cross is of white silicious sandstone, and is

26

SCULPTURED CROSSES

WEST SIDE OF THE SOUTHEAST CROSS, MONASTERBOICE,
COUNTY LOUTH.

Digitized by

MONASTERBOICE CROSSES

27

WEST SIDE OF THE WEST CROSS, MONASTERBOICE,
COUNT? LOUTH,

Digitized by

28

SCULPTURED CROSSES

more than twenty-three feet high. The base was never
finished. The lower part of the shaft has evidently
suffered violence, which tradition attributes to "The
Bigots of the Iron Time/' as Sir W. Scott styles
Cromwell's iconoclastic zealots.

The subject on the lower part of the shaft is David
overcoming the lion, the lamb and crook indicate his
pastoral occupation. Next is Abraham's sacrifice,
Isaac is chopping the wood, the ram and the angel
are seen in the right-hand corner. Third panel seems to
be Samuel selecting David; fourth panel, Samuel
annointing David, an attendant carries the head of Go-
liah; fifth panel (?) ; sixth panel, a chariot, with the
driver and person driven ; the wheels are very high ;
seventh panel, an interlaced ornament; eighth panel,
the three children in the fiery furnace. There are
two other divisions of ornament below the carvings in
the centre of the cross, which may represent Christ
come in glory, but is very much damaged. There are
bosses and spiral ornaments on each cross-arm, and
above as well as below the centre carving. The sub-
jects of the groups of figures on the cross-arms and
on the upper arm are beyond my power to determine.
The carvings on the ring seem to be interlaced bands.
They are very much injured.

An ancient grave slab, with an inscription, is at
the north side of the churchyard ; I have represented
it in this print. The inscription is generally read OR
DU RUARCAN. A doubt may naturally arise
whether the eighth letter is an R or an N; the two
previous R's are of a different form, yet I have seen
many R's like the letter referred to. The U for an
O at the fourth letter is singular. Scale, one-sixteenth.

MONASTERBOICE CBOSSES

29

The West Side of the West Cross, Monasterboice.

The first panel on the lower part is greatly injured,
it represents the soldiers guarding Christ's sepulchre,
as will be better understood by referring to the north
cross at Clonmacnoise, and the cross in the street of
Kells. The second panel is understood to represent
Christ's baptism, with the Holy Ghost descending, in
what imagination may conceive to be the likeness of
a dove. The four succeeding panels are supposed to
represent the Transfiguration, seizing, Ecce homo!
etc., of Christ. In the centre of the cross is Christ
crucified, with the sponge and the spear bearers. Two
men support a rest under the feet of Christ. The
carvings on the cross-arms and the upper arm are
more than I can solve. Scale, one-sixteenth.

A (referring to the illustration marked "Details of
Crosses") represents the south and B the north side
of the west cross at Monasterboice. Panels of bossed,
whirled and interlaced serpents ; of interlaced dogs ; of
zig-zag and bossed whirls, and of interlaced bands, are
seen to alternate with panels containing human and
other figures, the import of which may be made out
by some one more successful than I have been at these
enigmas. At C is represented an ornament seen near
the top of the north side of the shaft. D represents
the south side of the top arm. The north side is very
like the south one. E and F are the ends of the cross
arms, and G is the rim of one of the lower curves,
both being very like each other; the upper rims are
without ornament. H and I are the carvings in the

Details of Crosses.

30

SCULPTURED CROSSES

/

DETAILS OF CROSSES. THE LETTERS USED IN THE TEXT
REFER TO THIS ILLUSTRATION AS FOLLOWS: A IS
THE COLUMN ON THE LEFT; B, THE COLUMN ON THE
RIGHT; READING FROM TOP TO BOTTOM THE LEFT
ROW OF ORNAMENTS ARE O. M. E. K. ; THE MIDDLE
ROW, H. D. L. Q. I.; THE RIGHT ROW, P. N. F. C.

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MONASTEBBOICE CROSSES

31

ILLUSTRATION OF ORNAMENTS ON IRISH CROSSES. THIS
IS INTRODUCED FOR THE PURPOSE OF SHOWING
THE SEVERAL BANDS OF WHICH THE INTERLACED
ORNAMENTS ARE COMPOSED.

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32

SCULPTURED CROSSES

MONASTEBBOICE CROSSES

33

centre of both sides of the third cross at Monaster-
boice; this is of white silicious sandstone; it is very
much broken, but I guess it to have been originally
about sixteen feet high, the subjects given are the
only sculptures on the cross, which is of very fine pro-
portions, and there seems to be as much remaining as
would enable the restoration of this monument to be
accomplished. I hope it may be done. The subject
of one is the Crucifixion, with the sponge and the
spear bearers. The other is the C pattern within a
circle. K is an ornament from a side of the shaft of
a cross at Armagh ; which lies broken, and greatly in-
jured, among a quantity of rubbishy stones in the
churchyard belonging to the Cathedral. L represents
a carving of the C pattern, within a circle, from a
cross in the island at Tynan Abbey, County Armagh.
M and N represent the shaft of a dilapidated cross
near the church, and O and P are two ornaments from
a cross standing in the street at Tynan. Material si-
licious sandstone. Scale one-twelfth, with the excep-
tion of C and K ; these two are on a scale of one-sixth.

CHAPTER III

KlLLAMERY AND DuNNAMAGGAN CROSSES

Killamery Cross.

A FEW houses of humble pretensions, about twelve
miles from Kilkenny, on the road to Clonmel,
constitute the village of Killamery. High and
well-wooded hills (pre-eminent among which is the
beautiful mountain Slievnamon) and a vast expanse
of fertile plains, give to the locality of this village
a picturesque interest. Here, on a small, rugged
eminence, is the churchyard of Killamery, with its
low and broken walls, crowded tombstones, and
hoary thorns; and, above all, an ancient cross, re-
markable alike for its singularity and its beauty, and
which is, fortunately, in excellent preservation, not-
withstanding the many ages it has stood exposed to
the elements in this wild mountain solitude.

The cross is composed of three parts ; the base,
which is about twenty-six inches high; thence to
the cap is eight feet four inches ; and, lastly, the
cap is about fifteen inches high; hence the cross
altogether is about twelve feet in height.

The arms extend to three feet ten inches, and
the circle is three feet in diameter.

The shaft of the cross, measured below, is one
foot six inches wide in front, and fourteen inches
on the side; but at the top, immediately under the

Digitized by

KILLAMEBY AND DUNNAMAGGAN CROSSES

35

cap, it is only twelve inches wide in front, and nine
inches at the side.

The cap is retained in its place by a rectangular
mortice, which receives a tenon projecting from
the upper arm of the cross.

The material is a close-grained whitish sand-
stone.

The ornaments on the east side of the cross are
in very good preservation, but those on the west
side are very difficult to ascertain. I have repre-
sented the upper arm as well as I could make it out.
The figures on the cross-arms are introduced from a
sketch obligingly furnished by the Rev. J. Graves,
of Kilkenny, and are, I feel assured, very faithful.
The remaining portion of the decorations, viz., the
fantastic zig-zag and the diaper ornaments, are rep-
resented with a most minute accuracy as they are
in the original. The boss on the east side is semi-
globular; that on the west side is nearly flat, not
rising above half an inch.

There are ornaments on the sides which could
not be shown in the two views given, but will be
given in another print, so as to complete the repre-
sentation of this monument.

The incised slab is in the same churchyard
though not exactly in the place in which it is rep-
resented. It is a rough block of coarse argillac-
eous, slaty, brown stone; the incised cross and
inscription are cut roughly and rather shallow.
There are two inscriptions in Irish, "Or ar anmain
na Edam," and "Or ar anmin na Edaen." They
signify, "A Prayer for the soul of Edain" and

36

SCULPTURED CROSSES

WEST SIDE OF KILLAMERY CROSS.

Digitized by

KILLAMEBY AND DUNNAMAGGAN CROSSES

37

J3AST SIDE OF KILLAMERY CROSS.

Digitized by

38

SCULPTURED CROSSES

WEST SIDE OF DUNNAMAGGAN CROSS.

Digrtized by

KILLAMEBY AND DUNNAMAGGAN CROSSES

39

EAST SIDE OF DUNNAMAGGAN CROSS.

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40

SCULPTUBED CROSSES

"Edaen" respectively: possibly man and wife. The
slab is about five feet long and six inches thick.

There is also represented what appears to be a
base of a cross. Whatever it may have been in-
tended for, the form is very singular. It lies im-
mediately outside the south wall of the graveyard,
by a plashy spring. Until lately, the hollow in it
was used by the devotees of the place as a recep-
tacle for pins deposited there during the perform-
ance of some mystic devotions !

The scale used is an inch to the foot.

Killamery contains no remains of ancient build-
ings, though doubtless there was a church there
formerly. Seward states, in his "Topographical
Dictionary/' that St. Gobhan presided there over a
thousand monks ! So large a community would re-
quire a very extensive range of buildings for its ac-
commodation, but all traces of them are gone.

This cross is in a small burial ground, a couple of
miles from Kells, County Kilkenny. Tt is unfor-
tunately broken into several pieces, which lie scat-
tered about. I have deemed it better to represent it
unbroken, as all the fragments are still in the
graveyard.

As the drawing is on a scale of an inch to the
foot, the dimensions of the original can be easily
known. It consists of two parts — the base and the
supported portion. The base is about a foot and
a half high, and is in a very rough, perhaps time-
worn state. The part above the base is fully seven

Dunnamaggan Cross.

KILLAMERY AND DUNNAMAGGAN CROSSES

41

feet high; the entire cross being eight and a half
feet in height. The thickness of the upper stone is
about eight inches. There are four figures, in as
many niches, on the shaft. These figures are of
different heights ; the tallest, which seems to be the
figure of a bishop, is twenty-six inches high; the
one on the east face is only twenty-one inches in
height; and the two remaining are still smaller.
The figures do not rise beyond the general sur-
face ; their rather bold relief is caused by the niches
being carved deeply.

The circular part is thirty-two inches in diam-
eter; there is no indication of any tenon for a cap
on the upper arm.

The opes arc of unequal size, and the whole
execution rude. The material is a sandstone grit.

The ruins of a very dilapidated old church are
close to the cross.

CHAPTER IV

Kilklispeen Crosses

THE burying ground of Kilklispeen lies be-
tween Scoughbridge and the slate quarries,
in the County Kilkenny; it is in a large grass field,
and without any enclosing fence. Amid the thick-
ly-grouped tombstones, and situated north and
south of each other, are two richly-carved crosses,
and tradition states that there has been a third.
Embosomed among high hills, with a picturesque
valley and stream, and bold cliffs adjoining, the
locality of this wild mountain graveyard possesses
a good deal of scenic beauty.

The South Cross, Kilklispeen.

This cross consists of three separate portions.
The base is one foot nine inches high, thence to
the cap is eight feet four. The cap had been re-
moved some years ago, and reduced to its present
small dimensions, but originally it, doubtless, was
a high cone, similar to the North Cross, and in all
probability at the least eighteen inches high, which
would make the entire height of the cross nearly
twelve feet. The arms are four and a half feet
across; the diameter of the circle is four inches
less. The shaft, measured below, is nineteen inches
wide in front, and sixteen at the side.

Though time has wrought much damage to this

Digitized by

KILKLISPEEN CROSSES

43

noble cross, yet the bold style of ornaments renders
them visible enough, with the exception of certain
carvings on the base, apparently of animals, which
are very difficult to make out.

The circular parts of the ornament on the west
side of the shaft are sunk below the general sur-
face. The ornaments at the sides and other parts,
which cannot be shown properly in the two views
given, are of considerable interest, and will be rep-
resented in another plate.

The bosses on the east side do not rise more
than a couple of inches. There is a ring and some
sort of pattern, now nearly obliterated, on the face
of each of them. Those on the west side are high
cones, with the exception of the centre one, which
is truncated. These are without any pattern.

The cross is well carved in sandstone grit.

These two drawings are on a scale of one
twelfth.

This very fine specimen of Celtic ornamental carv-
ing has, unfortunately, been wantonly injured; one of
the curves, and a great part of the bold moulding
which ornamented the shaft, are gone. These in-
juries, without doubt, have been produced by the
evil spirit of wanton destructiveness. The influence
of many centuries' exposure to the atmosphere is also
plainly visible; still, what remains shows that this is
the ruin of one of the most beautiful crosses in Ire-
land, rich as that country undoubtedly is in these
monuments.

The North Cross.

44

SCULPTUBED CROSSES

WEST SIDE OF SOUTH CROSS.

Digitized by

KILKLISPEEN CROSSES

EAST SIDE OP SOUTH CROSS.

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46

SCULPTURED CROSSES

This cross is in three separate parts, namely, the
base, the cap, and the part between these. It is
altogether above twelve feet in height. As the scale
is the same as has been used for the previous ones —
namely, an inch to the foot — it seems unnecessary
to enter into details.

The cap was removed some years ago, as had
occurred with the cap of the South cross ; but a priest
of the locality had the kindness to search out both
the caps and cause their being restored to theii
proper places.

The removal of the caps having left the tops of
the upper arms exposed to the weather, those parts
have suffered in consequence, as may be seen in the
prints. The cap of the North cross does not seem
to have been altered in any way; its strange form is
doubtless original; a fact which receives strong cor-
roboration in the Kilkeeran crosses (a place within a
couple of miles of Kilklispeen), where there are three
crosses, two of which have caps of the same shape as
the one on the North cross of Kilklispeen. The
third cross at Kilkeeran has lost its cap.

Both the crosses at Kilklispeen are profusely orna-
mented with an interwoven or platted pattern; but
they differ in this respect — the plat of the South
cross being flat or ribbon-like, with a score in the
centre ; while that of the North cross is a half-round,
with the spaces between very deeply cut. The bosses
on the east side of this cross are ornamented on their
sides with a plat-work pattern; they are truncated.

Near the bottom of the shaft a curious diaper-like

KILKLISPEEN CBOSSES

47

decoration is seen, which has often been mistaken for
an inscription. The print shows it correctly.

On the horizontal part of the base (beneath the
Boucher Knot ornament) there is a pattern, which is
indicated in the print. It consists of small squares,
sunk somewhat deeply, and which, by being kept in
line, form a sort of checker ornament.

The cross is well carved; the material, as usual, a
sandstone grit.

As the pronunciation of Irish names of places
often puzzles strangers, it may be well to mention
that Killamery has the a as in able; Dun-na-mag-
gan has the accent on the first g; Kilklispeen, Kil-
keeran have the accent on the ee, which are pro-
nounced long, as in seen. Scough is pronounced as the
Scotch pronounce Lough, with a full guttural sound.

On the base are seven human figures, generally
said to represent so many bishops, and whence, to-
gether with the curious funeral procession on one of
the ends of the base, has very probably been derived
the first idea of a strange story about seven boys
born at a birth, who became bishops, and were all
beheaded by a certain Countess of Granna. The
legend may be had in full from any of the numerous
relators of such vestiges of history belonging to the
locality, who will doubtless give certain curious par-
ticulars which cannot be properly mentioned here.
An examination of the figures will show that there
are but six who carry the "bacal;" the centre one
being without the pastoral staff. This personage's

West Side of the North Cross.

48

SCULPTURED CROSSES

WEST SIDE OF NORTH CROSS.

Digitized by

kHjKLispeen crosses

49

Digitized by

50

SCULPTURED CROSSES

headdress is also differently shaped; perhaps he
wears a crown; at all events, he appears to be ad-
dressing instructions to the six, to which they listen
attentively.

It is hardly necessary to direct attention to the
richness of the carvings shown in this view of the
cross. The spiral involutions, richly-carved bosses,
etc., are, even in their present almost ruined state,
beautiful examples of Irish decorative art. The
group of four human figures platted together is very
singular, but not altogether unique. The Cross of
Bangher has a similar group. That which stands in
the market-place of Kells, county Meath, has three
human beings similarly interlaced; and one of the
Monasterboice crosses has a carving composed of
eight men elaborately intertwined.

The circle of this Kilklispeen cross is four feet in
diameter; width at the cross arms, four feet seven
inches. Scale, one-twelfth.

Details of the Kilklispeen Crosses.

In this print the ornaments are represented, not as
they now appear, but as they may have been when
newly executed.

There are sections given to show more clearly
how far the various parts of these decorations are
relieved. For instance, the rope moulding projects
nearly four inches from the central panel. The cor-
responding panel on the opposite or north side of
that same cross is exactly similar in style to the one
represented; there are, however, considerable differ-
ences in the details. The ornament corresponds in

KILKLISPEEN CROSSES

51

DETAILS OF THE KILKLISPEEN CROSSES.

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52

SCULPTUBED CROSSES

position to the central panel last referred to. There
are also simliar double bands of boldly projecting
rope moulding on each side, as are shown in the
shaft of the South Cross; but in the North one there
is no ornament in the space between the double rope
mouldings. As the ends of the cross arms in both
these Crosses resemble each other in having double
rope mouldings, only the central panel has been
given. The rim is represented as if it were straight-
ened. There is a rope moulding on each side of this
chain plat, which is so like the one represented that
it was not deemed necessary to introduce it, and
doing so would overcrowd the print.

CHAPTER V

Tuam Cross

ABOUT thirty years ago the base of this cross was
found, buried under rubbish, in the marketplace
of Tuam, a town in the County of Galway ; other por-
tions have been discovered since, but some are lost.
Those which have been found were arranged at the
Dublin Industrial Exhibition as shown in the sketch.
The great height and slender proportions of this monu-
ment have caused doubts as to whether the parts we
have belong to the same cross, or, even if they do,
whether the arrangement of them was quite right.
Let us determine whether these doubts are well
founded. So very tall and slender a cross is unique
in Ireland ; there is one at Kilkieran, in the county
Kilkenny, of the same proportions, but it is only
thirteen feet high, and the shaft consists of a single
stone; while the Tuam one was originally above
thirty feet high; |?n;d cpnsjjtejf-of^iglit stones, includ-
ing the base ;Wevertlieless,«6ttch*<>are appears to have

been taken t€f a giVe stability to" *it itftat ft must orig-
11 i i* r* - ••/-••• ••••• ••• * * 1

inally have be£n:a very rp-nr.erectiQn; : ; ' ;

The lower stone of the shaft has a tenon, measur-
ing a foot square, which fits exactly into a mortice
hole at the top of the base ; the shaft is two feet three
inches broad, and a little more than a foot thick,
measured at the base, and the base corresponds so

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SCULPTURED CROSSES

TUAM CROSS (A).

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TUAM CBOSS

55

TUAM CUOSS (B).

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exactly to these measures that it projects about four
inches all round beyond the shaft. There can be no
doubt, then, that the first stone of the shaft is rightly
placed ; neither can there be any doubt respecting the
next stone, for besides that it agrees in size with the
one beneath, the patterns on the four sides run into
each other over the joint, and settle the question.
But between the second and the third stones there is
a blank of nearly seven feet; for this reason — on
looking at the broad sides of the shaft, it will be
observed that they are bounded by straight lines,
which incline towards each other, so as to narrow
the shaft at the rate of about three inches to every
five feet of rise, and also that these broad sides have
moulded bands, three inches wide, at their borders.
The third stone has the same characteristics — namely,
the straight outlines, inclined at the same rate, and
the three-inch bands at the borders ; but it is so much
smaller, that, in order to give it a proper place, the
blank had to be left between this stone and the second
one. The head of the cross corresponds in measure
with the top of the shaft. As the lower part of the
Christ is gone, a second blank occurs here, and from
the figures above the Christ being incomplete, as well
as by the tenon at the top, we know that the topmost
stone is required to complete the cross.

There are four inscriptions on the Tuam Cross;
two are on the base, and the other two on the third
stone of the shaft, and there is such a perfect corre-
spondence between these four inscriptions as shows
that both stones are part of the same cross. The

TUAM CROSS

57

inscriptions on the base are: "Or do Thoirdelbuch
U'Choncubuir, don Dabbaid Jarlath, las in dernad
insae Chrossa." "A prayer for Turloch O'Conor,
for the Abbot of Jarlath, by whom was made this
Cross. ,, — "Or do U'Ossin, don Dabbaid las in
dernad." "A Prayer for O'Ossin, for the Abbot by
whom it was made." The inscriptions on the third
stone of the shaft are: "Or don Rig, don Thoirdel-
buch U'Chonchubuir. Or don Chaeir, do Gilli Ch.
Ush..Tho"..."A prayer for the King, for Turloch
O'Conor. A prayer for the Artist, for the servant of
Christ. Uch... Tho". . .— "Or do Chomarba Jar-
laithe, do Aed LTOssin las in dernad in Chrossa."
"A prayer for the successor of Jarlath, for Aed
O'Ossin, by whom was made this Cross."

In these inscriptions the name of Turloch O'Conor
occurs both on the base and the shaft, and in one of
them he is styled King. The name of O'Ossin is
also on both stones. He is stated to be the maker
of the cross in two of the inscriptions; and, in a
third, to be the Abbot by whom it was made. The
inscriptions would of themselves establish the point
that the base and the third stone of the shaft are parts
of the same work, and that that work is a cross. The
form of the third stone has already served to fix its
exact place in the shaft of the cross. Turloch
O'Conor was Monarch of Ireland from A. D. 1121
to 1156; Aed O'Ossin presided over St. Jarlath's
from 1 1 28 to 1150; hence the Tuam Cross belongs
to the earlier part of the twelfth century.

Having ascertained the proper place for each por-

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SCULPTURED CROSSES

tion of the cross, let us now see how these several
parts were kept together. We have already seen
how firmly the first stone of the shaft is imbedded in
the base; there are large mortice-holes at the junc-
tion of the first and second stones; a tenon let into
these would make a strong joint; at the top of the
second stone there is a similar mortice-hole, which
served to unite this stone with the one immediately
above it, which is now lost; the third stone has
neither mortice nor tenon — it may have had tenons
originally — and this stone has suffered so much in-
jury, and been subjected to such apparently wanton
destruction, that the tenons being gone is not sur-
prising. The head of the cross has a large mortice
at its lower part, and we have already observed a
tenon at the top; so far, then, we find that consider-
able care has been taken to bind the several portions
of the work together; but, in addition to this, there
appear to have been other precautions taken to give
stability to this very tall and slender monument, by
firmly uniting it to a cathedral, erected at the same
time as the cross, and by the same Abbot. Of the
Cathedral of Tuam, erected by Aed O'Ossin, we have
now only the chancel arch and some minor portions,
the sculptures on which closely resemble those on
the cross; and not only is there an agreement in the
decorations of these two works, but it seems prob-
able that the cross was actually united to and upheld
by the cathedral, for at the top of the second stone of
the shaft there is on one of the wide sides a part
nearly a yard long which never had any ornament,

TUAM CROSS

59

THE TUAM CROSS (C).

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SCULPTURED CROSSES

and here we find a large mortice-hole. If a long
stone were firmly fixed in the cathedral wall, and, by
means of a tenon, as firmly united to the cross, such
a stay would give great strength. Again: one side
of the head of the cross has two vertical grooves ;
these would allow strong iron bars to be inserted,
which, if fastened to the walls of the cathedral,
would keep the top of the cross steady. The same
arrangement by which the second stone is supposed
to have been joined to the church may have been
used for the stone above it, where there is a blank
now. These stays, by uniting the cross to the church,
would give it strength so long as the church was
firm; but the downfall of the larger pile would nec-
essarily cause that of the lesser one attached to it;
and hence, as O'Ossin's cathedral of Tuam is now
all but gone, the cross has fallen along with it. Very
tall and slender crosses are to be seen on the conti-
nent, attached to church walls in the same way as
has been conjectured for the one we are now con-
sidering.

The inscriptions on the third stone are above
twenty feet from the ground. How could these
have been read, unless from some part of the
cathedral which allowed the spectator to get near to,
and on a level with, that part of the cross? Do
we not find here an additional proof that the cross
must have stood very close to the cathedral? If
stays had been used in the manner suggested, they
would be doubtless carved in correspondence with
the main work, and so rendered decorative as
well as useful. The two brackets at the sides of the

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TUAM CROSS

61

base were probably intended to support statues. Ser-
pents, with platwork additions for the purpose of
forming an interlaced pattern, form the subjects of
the greater part of the carvings.

Tuam Gross (A).

The central subject is a representation of the entire
cross, on a scale of half an inch to the foot. The
side subjects represent the lower parts of the narrow
sides of the cross as far as the first blank, to a scale
of one eighth.

Tuam Cross (B).

The central subject shows one of the broad sides
as far as the first blank, to a scale of one eighth ; there
are two views 61 the head of the cross, scale one
twelfth ; also, the two figures at the ends of the cross-
arms. The carvings on the rims of the lower curves
are represented on the right hand, and on the left
hand the chequered pattern which is on the under
side of the cross-arms.

At each side of the upper part of this print are
represented the north and south sides of the base of
the North Cross, Kilklispeen ; and the patterns on the
four faces of the curves of the east side of the
same cross. The subject on one side of the base is
a chariot, in which are seated two figures; there are
two cavaliers and a couple of dogs. The subject
on the opposite side of the base appears to be a
funeral procession; a naked human figure, without
a head, is laid on the back of an old horse; the legs
hang over the neck, and the arms over the side of

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SCl'LPTUREn ( HORSES

TUAM CUOSS DETAILS.

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TUAM CROSS

63

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SCULPTURED CROSSES

the horse. A raven — emblem of death — is perched
on the corpse, and a second raven has alighted on
the horse's head. A female bearing a child follows
the body. A young person seems to proceed as chief
mourner. Two others bear, one a cross, another a
pastoral staff; these are probably ecclesiastics.

The central subject is the remaining wide side, at
the top of which is seen the blank space and the
mortice before mentioned. The other subjects are
the four sides of the third stone. The scale is one eighth.

In some places the carvings are very much in-
jured, as may be understood from the prints. The
base has suffered the most. The third stone of the
shaft has the upper half of the serpent pattern all
but obliterated; it is shown on the left hand in the
last-described print. The second stone of the shaft,
where it unites with the first one, is broken away as
far as is marked by a light shading in the same print.
The pattern for this shaded part is supplied from
conjecture.

Tuam Cross (C).

CHAPTER VI

Moone Abbey Cross

TERMONFECHIN (pronounced Termon-Fekin)
is in the County Louth, about four miles north of
Drogheda. The cross, though small, is of great interest.
The carvings are, generally speaking, sharp and un-
injured. The material is silecious sandstone. I
learned on the spot that the cross has been shifted
from its original position; the cap has been set on
wrong, the side being turned to the front; and I sus-
pect also that the present east side should be turned
to the west; the base also is in very bad taste, and
very probably modem. The cross is about eight feet
six inches high.

In the print the present east side is represented on
the left side. Christ crucified, with a sponge and spear
bearers ; the Holy Ghost, or an angel, and a couple of
other figuress, are in the centre of the cross. The
curves are ornamented with platted bands and inter-
laced serpents; zig-zig and platted ornaments of ex-
cellent design are on the shaft; the base is circular,
and without ornament. The present west side is on
the right side of the print. Christ comes in judgment,
bearing His cross and sceptre, and the human race
issuing from the tombs, and also ornaments, are in the
centre. The curves have, one a C ornament, termi-
nating in serpents; another a platted pattern, ending

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MOONE ABBEY CROSS (A).

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MOONE ABBEY CBOSS

67

MOONE ABBEY CROSS (B).

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SCULPTURED CROSSES

in dog's (?) heads; a third is the zig-zag; the fourth
curve was never carved, or else had had the pattern
totally destroyed. The shaft has at the top, immedi-
ately under the feet of Christ, a small panel of zig-
zag ornament ; next is a large panel of serpents inter-
lacing, united in whirls by groups of threes and sur-
rounding two human heads. The lower panel is a
very peculiar and not inelegant pattern of a compound
character, partaking of the C and the serpent type,
united in whirls of threes, and, in this last character-
istic, resembling the ornament in the panel above it.
In the centre of the print these two panels are repre-
sented on a larger scale, above which is the end of
one of the cross-arms, being ornamented with a com-
pound of zig-zag and spirals. The other cross arm
is without ornament; perhaps it was never carved.
At each side of the centre, the sides of the shaft, and
the rims of the curves, are given ; interlaced animals
of the dog type, interlaced bands, and zig-zags decor-
ate the sides of the shaft; the lower rims have very
beautiful ornaments of the C and the serpent type
blended. On one of the upper rims is an interlaced
pattern, on the other a zig-zag; this last is much in-
jured.

The scale for the elevation of the crosses is one-
twelfth; that for the details is one-eighth. Three
separate stones constitute this cross, viz., the base,
the cap, and the part between these.

Moone Abbey Cross (A).

Moone Abbey is near Ballitore, County Kildare.
The cross is of granite, and the workmanship is rude ;

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MOONE ABBEY CROSS

69

its form and carvings give it considerable interest.
The entire height is twelve feet nine inches; there is
a tenon at the top, which shows that there was a
crowning stone. The cross arms are very nearly four
feet wide. This cross was, I understand, lying pros-
trate till lately.

On the west side of the cross, or its face, are be-
low the Twelve Apostles; next Christ on the cross,
with the sponge and spear bearers ; next, a panel with
a lion ( ?) ; above this is a lozenge-shaped band, with-
in which are four serpents united at their tails, and
also sixteen small bosses outside the lozenge. Above
this in the centre of the cross are four serpents united
in a whirl; at each side of the serpents are human
figures, and at top a double S-like pattern, like the
Grecian symbol for the ocean. At the right side be-
low are the five loaves and two fishes, typical of Christ
feeding the multitude; next the flight into Egypt;
above which are the three Marys at the sepulchre, and
the angel over it; an angel, human figures, and what
seem to be animal forms, constitute the remaining sub-
jects on this side. This scale is one-twelfth.

Moone Abbey Cross (B).

On the left hand of the print is an elevation of the
side of the cross ; at the bottom is a carving of beast
and serpent forms combined. Above this is the Temp-
tation of Christ (not so, there are three figures).
The remaining subjects are beyond my comprehen-
sion. In the middle of the print is an elevation of
the face of the Moone Abbey Cross; below is Mary

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SCULPTURED CROSSES

Magdalene, or the seven deadly sins, which — if
either? (Daniel in lion's den) next Abraham's sacri-
fice. The Father of the Faithful is seated in a high-
seated chair; Isaac lays his head quietly on a stool;
the ram and thicket are seen above. The next panel
contains the Fall of Man, over which is a panel con-
taining four serpents united at the tails, and holding
a couple of apples, type of the fall. In the centre
of the cross is Christ; over this is a fish, the ancient
type of Christ.

Between the two elevations are represented two
very small crosses ; the lower one is a chloritic slaty
stone. I saw it at the Royal Irish Academy in
Dublin. The other, also in the same place, is
sandstone, and is singular for having a human
figure whose legs terminate in an interlaced ornament.
I have added to the representation of the fragment an
outline, restoring a part of the head of the cross, in
order to give a better idea of its singular design ; zig-
zag, and serpents ornament the two curves that re-
main. There is no ornament on these two small
crosses except what I have represented. At the right
side of the print are represented above and below the
four sides of a carved stone, and in the middle four
sides of another carved stone, both at Moone Abbey;
serpents and other animals and interlaced bands are
the subjects of these carvings ; the material is granite.
Scale, one-twelfth.

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CHAPTER VII

Crosses at Clonmacnoise

CLONMACNOISE is on the banks of the Shan-
non, about seven miles below Athlone, and in
the King's County. The churchyard contains sev-
eral ecclesiastical buildings, two round towers, two
sculptured crosses and part of a third, and also a
great many ancient grave-slabs, sculptured and in-
scribed with the names of eminent persons who
flourished about a thousand years ago.

The two crosses are situated nearly north and south
of each other; hence I have denominated them as the
North and South Crosses respectively.

East Side of the North Cross, Clonmacnoise, King's
County.

This cross is of siliceous sandstone, and consists
of two stones, the base, and thence to the top. En-
tire height thirteen feet; width at the cross-arms
four feet eight inches.

At the bottom of the shaft is a mutilated inscrip-
tion, which Dr. Petrie (see his "Essay") says reads
very plainly as follows : Orccoit do Colman dorroindi
in chrossa ar in ri Flaind."

My copy is a facsimile. There is only room for
three letters in the blank space at the beginning of
the inscription. The doctor's version supplies eight
letters there, that is, five letters too many; so far

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SCULPTURED CROSSES

the doctor's version is clearly erroneous. He sup-
poses the cross to have been executed at the com-
mencement of the tenth century.

The subject of the carving in the centre of the
cross is Christ come to. judge the world. Several
of the slab gravestones are represented. Material
sandstone; scale one twelfth. In the distance are
seen the river Shannon and the ruins of a very
strong castle, said to have been an archbishop's ;
the hill on which it is situated was moated.

West Side of the North Cross, Clonmacnoise,
King's County.

The subject in the centre is the Crucifixion; that
at the lower part of the shaft is the soldiers guard-
ing the sepulchre. Scale one twelfth.

On the outside right and left are represented the
north and south sides of the base and shaft, lower
rim of the ring, beneath the cross-arm, end of the
cross-arm, upper rim of the ring, and sides of the
upper arms of the North Cross at Clonmacnoise; in
the lower part of the print are four curves from the
ring of a cross in the island at Tynan Abbey, County
Armagh ; above these are three sides of a sculptured
stone at Clonmacnoise, and to the right of these is
the sceptre of Christ, from the North Cross, Clon-
macnoise; above these are one side of the base, the
two sides of the shaft, and the end of one of the
cross-arms from a cross at Castledermot, County
Kildare* The five subjects at top represent grave-

Details of Crosses.

CROSSES AT CLONMACNOISE

75

stones at Clonmacnoise. The sculptured stone at
Clonmacnoise is only carved on three sides; the
material is limestone. The material of the Castle-
dermot Cross is granite; that of the other subjects
sandstone. Scale one twelfth for all except Christ's
sceptre and the C pattern on the other side; these
are on a scale of one sixth. The C pattern is from
under the rim of the North Cross, Clonmacnoise.

East Side of the South Cross, Clonmacnoise, King's
County.

This cross is in the same churchyard as the north
one. I have represented a number of ancient grave-
slabs about its base; these are in the same place.
The cross is about twelve feet high. The cross-
arms are three feet nine inches wide. There is no
tenon or mortice at top to keep the cap on. The
boss on the left hand cross-arm is evidently unfi-
ished. Material sandstone ; scale one twelfth.

East Side of the South Cross, Clonmacnoise, King's
County, and Crosses at Kilkeeran, County
Kilkenny.

The details consist of the sides of the shaft, be-
tween which, below, is the top of one side of the
base (I could not make out the patterns on the
other side), above which are two curves of the ring-
to show what the paterns were; above these are
the two lower rims of the ring, and at the top
the two upper rims (partly uncarved), and the orna-
ments on the sides of the top arm, and at the out-

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SCULPTURED CROSSES

DETAILS OF CROSSES

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DETAILS OF THE SOUTH CROSS. CLONMACNOISR,
KING'S COUNTY.

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side at top are the ends of the cross-arms. Scale
one twelfth.

The other portion of the print represents crosses
at Kilkeeran churchyard, in the County Kilkenny.
This burial ground is close to Scoughbridge, and
about three miles from Carrick-on-Suir. The tall
cross is about twelve feet high; it has had a cap, for
there remains a tenon at the top. In its proportions
it closely resembles the Tuam Cross. Material lime-
stone; scale one twenty-fourth.

There are two crosses of the usual form in the
Kilkeeran churchyard — one is richly ornamented,
the other plain. The plain one is represented in the
print, with its conical cap lying on the ground near
it. The other cross has also a conical cap. The
Kilklispeen crosses are near this place, so that we
have four crosses with conical caps in this locality ;
I do not know of any others. The material of the
conical capped crosses is sandstone.

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